Bruce Mozert's underwater photography series was initially created as a commercial project for Silver Springs Park in Florida. Although the late photographer began the series as part of the park's marketing campaign, it now showcases a rare and romantic look at society at the time.
Monroe first stumbled upon Mozert's work while researching Florida's Silver Springs area for an entirely different book. He saw Mozert's work at a gift shop, and was struck by each photograph's composition: "They were stunning -- I found them to be distinguished by their visual finesse, technical quality and cultural currency. I wanted to know their source, so I went to the studio to meet Bruce Mozert."
Although this series began as a commercial project for the Silver Springs marketing team, Monroe points out how they effortlessly capture the concept of the American Dream at the time. "Like most everything else Florida, these images advertised the American dream. Mozert was not engaged with such notions of course; had he been the images would be too self-conscious to be so timeless and meaningful."
Monroe points out that Mozert's attention to detail and experimentation with props and materials allowed for each underwater photo to so perfectly reflect the on-ground scene it was depicting. "Tiny fishing weights ensured that the hula dancer's grass skirt wouldn't float upwards, the bubbly in the glass of champagne resulted from Alka-Seltzer tablets, the smoke from the barbequing steak was made from condensed powdered milk."
Even for an image such as this one, Mozert and his team tested materials and props underwater before taking the photograph. "They tested the effect of the current on the arrow as it left the archer's bow -- she had to hit the target. No air hoses are visible in these photographs (with slight exception, they were not used). Silver Springs required something else -- the illusion of verity was key."
This juxtaposition of everyday activities being conducted in an unexpected location is, according to Monroe, the most alluring element of Bruce Mozert's work. "Maybe it's the precision of how the photographs encapsulated the sensibilities of a time and place that makes them special and timeless. His photos are, to me, so compelling and convincing. His photos make us suspend our disbelief long enough for the sublime quality of this art to work its magic. There's an unmatched surreal quality to his work."
Although underwater photography is quite common in the industry today, Monroe points out that even now, few are able to capture these timeless moments quite the way that Mozert has. "None of today's underwater photographers, who are following the directorial mode of image making, are on the same wavelength as was Mozert. A couple of photographers back then also staged underwater imagery, but Mozert took it to a higher level. His work is more refined but still naïve."
Mozert's work often feature groups of friends or couples caught in social moments. "The photographs showed the same reality that defined popular white male-dominated 1950s culture. Mozert commented about the sensual quality of women's hair underwater, and men drove those vacation-bound cars."
Pin-up models are also common in Mozert's photography. "Attractive young women doing everyday activities underwater characterize his most intriguing work. They are novel but also fascinating, visceral and real -- in the sense that they don't suffer from the heavy-handedness of self-consciousness."
Although Mozert's underwater series were taken decades ago, Monroe points out that they are particularly captivating for viewers of today. "He never quite got the allure of his own work as being interesting photography in its own right. When I told him that I wouldn't be surprised by his work one day being shown at a Manhattan art gallery he almost rolled out of his chair in hysterical laughter. To him, it was all about making 'a saleable picture' back then for a few dollars."
